The Oxford Book of Organ Music by Women Composers presents a comprehensive survey of historical organ pieces by women composers alongside six newly commissioned works. The music is stylistically varied and encompasses secular and sacred repertoire from a range of periods. In addition to original organ repertoire, the collection also contains several organ transcriptions in new arrangements for the instrument. ? 42 pieces for manuals and pedals, in a variety of musical forms, suitable for use at church services or as recital repertoire ? Original music for the instrument, spanning the sixteenth century to the present day, including compositions by Amy Beach, Clementine de Bourges, Nadia Boulanger, Jeanne Demessieux, Cecilia McDowall, Clara Schumann, and Ethyl Smyth, plus commissions from Kristina Arakelyan, Miriam Carpinetti, Ghislaine Reece-Trapp, Isabelle Ryder, Amy Summers, and Rebecca Groom te Velde ? Standalone miniatures, movements from organ sonatas and symphonies, transcriptions of piano, harpsichord, and flute pieces, and an orchestral opera overture ? A variety of difficulty levels, from ABRSM Grades 2-3 through to Diploma standard, with a graded index provided

Sonate récréative en trois mouvements : Allegro giocoso - Berceuse - Récréation. Cette oeuvre commande des Editions Le Chant du Monde a été créée par les dédicataires Caroline Lupovici au piano et Hervé Désarbre à l'orgue le samedi 6 juin 2009 en l'église Notre-Dame du Val-de-Grâce à Paris. Durée approximative 8 mn.

The first performance of Six Bagatelles was given by Margaret Phillips in St Michael’s Church Lyme Regis on 18 November 2011.Six Bagatelles are transcriptions for organ of six of the Bagatelles diverses originallywritten for solo piano. These are published by Chester Music (order no. CH74371) and have been recorded by Caroline Clemmow on ‘Burlesque’ - Piano Music by Brian Chapple (divineart dda25056).'I am very grateful toMargaret Phillips for her helpful comments and practical suggestions in the preparation of these pieces for performance.' - Brian Chapple'This engaging set was originally written for solo pianoand transcribed for organ for Margaret Phillips who first performed them in 2011. The transcriptions are most successful: idiomatic and allowing plenty of scope for colourful registrations. Harmonically the music is dissonant yet accessible; themes are engaging and well developed. The fifth is the most extended an inventive dancing scherzo coupling sliding chromaticism with a fierce inner rhythmic drive. This would make an excellent set for theadventurous recitalist but could equally be played individually in a liturgical setting.' - Sunday by Sunday

Complete Organ Works Volume III: Organist at the Church ?La Madeleine?: Trois Pièces pour Grand Orgue (1890) Messe de Mariage:Cinq Pièces pour Orgue (1891)During his tenure at ?La Madeleine? in Paris Théodore Dubois composed a large number of Organ works. Volume III together with the already published Volumes II and IV brings Barenreiter's first complete Urtext edition of this body of music to a close. It contains Trois Pièces (Praeludium-grave Adoratio et Vox Angelica Hosannah) and the well-known and frequently performed wedding piece Messe de Mariage (Entrée du Cortège Bénédiction nuptiale Offertoire Invocation Laus Deo [Sortie]).Like thetwo previous volumes this volume contains many facsimile pages a Critical Commentary (Fr/Eng/Ger) a catalogue of sources and a detailed Foreword that sheds light on the composer?s life instrument-specific issues and performance practice.First complete Urtext edition of Théodore Dubois? Organ worksBased on the latest research findingsSuitable for church worship and concert performanceDetailed Foreword Critical Commentary (Fr/Eng/Ger) and facsimile pagesAlready published:Théodore Dubois: Complete Organ WorksVolume I: Early Works and Works with little or facultative pedal use BA8468Volume II: Organist at the Church ?La Madeleine?: Douze Pièces pour Orgue ou Piano-Pédalier (1886) BA8469 Volume IV: Organist at the Church ?La Madeleine?: Douze Pièces nouvelles (1893) / Ascendit Deus (1902) BA8471Volume V: His Last Organ Works: Dix Pièces (nouvelles) (1921) / Fantasietta avec Variations (1922) BA9208

Still leading a shadowy existence Schumann's works for pedal piano are most likely performed on the organ today. This requires however that the music is set for the organ in accordance with the instrument's characteristic features and carefully 'arranged'. To mark the 150th anniversary of Schumann's death the well-known French organist Jean Guillou has adapted all pedal piano works for the organ adding registration indications: Six Pieces in Canonic Form Op. 56 Four Sketches for Pedal Piano Op. 58 Six Fugues on the name BACH Op. 60.

Arranged after the Piano Sonata by Martin Schmeding-Having been sceptical towards the church and religion all his life Edvard Grieg composed only a few works with sacred influence. There exist some study fugues from his student days which are reminiscent of an organ performance.This arrangement of the Piano Sonata in E minor Opus 7 is based on the original text. Every arrangement should aim at creating a balance between the original musical text and the possibilities of the chosen instrument while the composer strives for the greatest possible approximation to the original and at the same time to a setting suitable for the Organ.This not only requires the distribution of notes on manuals andpedals but also small adjustments in the musical text in order to make for example Piano pedal effects or figurations sound convincing on the Organ.

When Reubke died in 1858 at the age of only 24 his achievements included two monumental works (a Piano sonata and an Organ sonata) and a few smaller compositions including a Trio for Organ. This Urtext edition brings together the two Organ works in a new edition: the Organ sonata is also known by the title of the 94th Psalm whose words inspired its content. The Sonata whose style and virtuosity show the influence of Liszt is one of the greatest Organ works of the whole Romantic period. The Trio a musically charming but technically less demanding piece should represent a welcome addition to the teaching repertoire forOrgan. The only original documents remaining for these works are the first editions. In this new edition we have attempted to correct obvious mistakes in the first impression and to offer cautious suggestions for improvements in dubious instances.

A transcription justifies itself only by forgetting that it is a transcription and by incorporating the 'new' instrument into the work as it were Jean Guillou writes in the preface to this edition.Especially transcribing a work for organ which was originally written for piano possesses a certain risk. Such a transcription should not sound like a piano score played on the organ. Rather the specific possibilities offered by the organ have to be considered. That is why typically pianistic passages have to be rewritten to get an organistic character. Jean Guillou has masterfully succeeded in turning this great piano and orchestral work into a work for organ.

Instrument : organ Nombre de Pages : 62 This School of Organ Playing presupposes a certain technical facility on the piano. The pedal exercises at the beginning are rudimentary and should be practiced in all keys, gradually accelerating the tempo. The studies are graded according to their polyphony, beginning with simple two part exercises, followed by those in three and more parts. This acquaintance with the strict principles of polyphonic music, and the introduction to effective part writing, with a knowledge of harmonic form and architectonic values, provide the essential background for the correct performance of polyphonic music, especialle the fugue. The most important musical forms have been used to illustrate the various possibilites of registration and its relationship to style (colourful, individualistic and smooth playing). The studies are so arranged that earlier technical points, etc. are constantly reviewed, through comparison of style and form, in order to fix, or refreshen, the ideas in the student's mind. It is very important that the evolution of organ music from vocal music should be made clear to the student the very beginning, both musically and intellectually. He will be shown the technical evolution of organ music during the centuries and thus prepared for an artistic execution and interpretation of old and new words, especially for the incomparable art of our great Johann Sebastian Bach. Content : Grundlagen des Pedalspiels - T.L. da Vittoria: Bicinium: Bonum erat - A. Zoilo: Bicinium: Quare fremuerunt - Melius illi - W. Dietrich: Übung in e-Moll - G.P. Telemann: Largo - J.K.F. Fischer: Übung d-Moll - G.P. Telemann: Kanon - J. Pachelbel: Magnificat peregrini toni Meine Seele erhebt den Herrn - T.L. da Vittoria: Accedentes principes - J.K.F. Fischer: Übung in g-Moll - W. Dietrich: Pedalübung - S. Scheidt: Vater unser im Himmelreich VI. Versus Choralis in Basi - H.L. Haßler: Crucifixus - J.K.F. Fischer: Praeludium D-Dur - J. Pachelbel: Übung in a-Moll - W. Dietrich: Übung in As-Dur - R. Schwarz-Schilling: Kanon a 2 - Kanon a 3 - G. Aichinger: Stabat mater - J. Pachelbel: Durch Adams Fall ist ganz verderbt - J.K.F. Fischer: Praeludium fis-Moll - H.L. Haßler: Benedictus - J. Pachelbel: Was mein Gott will, das gescheh' allzeit - T.L.da Vittoria: Exclamans Jesus - S.Scheidt: Warum betrübst du dich, mein Herz IX. Versus. Choralis in Basso - D. Zipoli: Pastorale - J. Pachelbel: Vom Himmel hoch - J.S. Bach: Pedal-Exercitium - J.K.F. Fischer: Fuga g-Moll - J. Pachelbel: Komm, Gott Schöpfer, heiliger Geist - J.K.F. Fischer: Praeludium und Fuga cis-Moll - W. Dietrich: Pedalsolo - Übungen für mehrstimmiges Spiel in einer Hand: J.K.F. Fischer: Praeludium und Fuga e-Moll - H.L. Haßler: Da Jesus an dem Kreuze stund - M. Praetorius: Es ist ein Ros entsprungen - S. Scheidt: Vom Himmel hoch - M. Praetorius: Nun bitten wir den heiligen Geist - B. Resinarius: Nun bitten wir den heiligen Geist - S. Scheidt: Psalmus: Da Jesus an dem Kreuze stund - J.K.F. Fischer: Praeludium und Fuga h-Moll - J.S. Bach: Vom Himmel hoch - O Welt ich muß dich lassen - Herzlich tut mich verlangen - D. Buxtehude: Ach Herr, ich armen Sünder - J.S. Bach: Trio c-Moll - W. Dietrich: Pedalsolo/Trillerübung - J.S. Bach: Allein Gott in der Höh' sei Ehr' - J.K.F. Fischer: Praeludium und Fuga e-Moll - J.L. Krebs: Trio für 2 Manuale und Pedal

Organ Transcription by Jean Guillou Instrument : organ Nombre de Pages : 12 Franz Liszt's 'Première Valse oubliée' is known and popular as a subtle and delicately beautiful piece for the piano. This romantic gem has now been arranged by Jean Guillou for the organ in his inimitable way.